BBUDDAH HOGA TERRA BAAP Movie Review.... Rating 4/5

Flashback 1970s and 1980s. An Amitabh Bachchan film was considered an event. A sea of people would make themselves comfortable outside the theatre premises on Sunday night itself, although the advance booking counters would open only on Monday morning. Most theatres would be packed for the entire week in a matter of hours. Most Bachchan starrers ran for 25 weeks, 50 weeks, even 100 + weeks those days. Films helmed by Yash Chopra, Manmohan Desai, Prakash Mehra and Ramesh Sippy were adored and revered and even those helmed by not-too-successful names or relative newcomers were greeted with similar enthusiasm. The Hindi film industry was referred to as a one-man industry then. The Bachchan mania was invincible and indestructible.


Considering the iconic status that Bachchan Sr has achieved, every film-maker aspires to work with him at least once in his lifetime. Puri Jagannadh, the man behind many a successful film in Telugu, pays homage to the veteran in his debut film in Hindi, BBUDDAH HOGA TERRA BAAP. This film relies entirely on the persona and charisma of this iconic actor of Indian cinema. 


BBUDDAH HOGA TERRA BAAP has the 69-year-old Bachchan enacting the role of a defiant, flamboyant hitman in his inimitable style. With BBUDDAH HOGA TERRA BAAP, the angry young man of the 1970s and 1980s re-surfaces to re-live various roles that he enacted in those memorable films. This one's a masala film all the way. Right from a medley of Bachchan hits to the expertly crafted action sequences to the by-now-famous Bachchan baritone, this one has it all. 
                              
Frankly, masala films and path-breaking story don't go hand in hand. It's the moments that make a film. And BBUDDAH HOGA TERRA BAAP is no different. This one also rests on a skeletal plot. But that one man makes a world of a difference -- Amitabh Bachchan. He's angry [dare not call him 'Bbuddah'], but has a soft side too. He bashes the baddies, squeezing them like oranges. He gets the best lines to deliver and believe me, it makes the fan in you clap and cheer on several occasions. Let's face it, no Hindi film actor has ever had the opportunity to portray a part that Bachchan gets to portray at the ripe age of 69. Besides saluting the actor for delivering an electrifying performance, I would also like to salute the indomitable spirit and energy of this iconic actor for essaying the role with gusto and zest.

Final word? Bachchan fans -- especially those who have grown up on his movies -- are sure to relish it. Even if you're not a Bachchan fan, watch this one for one simple reason: They don't make them like Amitabh Bachchan anymore!

Viju [Amitabh Bachchan], an ex-gangster, arrives in Mumbai on a mission. He is flamboyant, wears loud clothes, is arrogant and hits back when people call him 'Bbuddah'. At first, everyone thinks that he's on a mission to assassinate the ACP [Sonu Sood], but there's a hidden agenda, which is revealed much later.

BUDDAH HOGA TERRA BAAP is a Hindi film packaged like a well-made South Indian fare: the style of narrating the story, the slick edit, the fast pacing, the stylized action scenes, the larger-than-life characters… The film commences on a pulsating note [Bachchan's intro is smashing], but the first hour works sporadically. While the portions involving Bachchan are exhilarating, there are multiple tracks in this hour which get on your nerves. The scenes in the coffee shop, for instance, are most irritating. Also, the track involving Raveena Tandon comes across like an unwanted guest. If the intention was to evoke laughter, sorry, it doesn't work. 


The story actually takes off at the interval point, when an unexpected twist startles the viewer completely. From this point onwards, BBUDDAH HOGA TERRA BAAP only scales higher and higher, reaching the peak towards the action-packed finale and the subsequent emotional reunion. I'd like to single out the confrontation between Bachchan and Prakash Raj in the final moments of the film and also the soaked-in-emotions sequence between Bachchan and Hema. It's the perfect icing on the cake!

While the written material banks too heavily on the tried and tested formula, director Puri Jagannadh ensures that he doesn't disappoint the hardcore fans of the icon. Bachchan is known for, besides his acting potential, larger than life roles and witty/smart dialogue. Puri presents Bachchan like a true superstar and gives him lines that would garner ceetees andtaalis, especially when he's confronting the baddies in the movie.

Vishal-Shekhar do a super job while composing the medley of Bachchan hits, 'Go Meera Go', the soft and soothing 'Haal-e-Dil' and the title track, which comes at the very start of the film. Amol Rathod's cinematography is perfect, while Vijay's stunts are stylish.  
Bachchan is truly the Baap and this film reiterates this fact yet again. His character, his attitude and the dialogue he delivers will remain etched in your memory for a long, long time. His attire may raise eyebrows initially, but once into the film, you will realize it gels well with his character. Hema Malini is, as always, graceful. The chemistry between the senior actors is refreshing. Raveena is saddled with an ill-defined role and that's the prime reason why she doesn't leave an impact. Sonu Sood is first-rate, confident at every step. Not once do you feel that he's overawed by Bachchan's towering presence. Sonal Chauhan looks pretty and acts well. Charmee Kaur is likeable and contributes to the funny moments. 


Prakash Raj is super. In fact, it's a treat to watch powerful actors like Bachchan and Prakash Raj embroiled in a confrontation. Makrand Deshpande is wonderful. Shahwar Ali is okay. Rajeev Mehta irritates. Again, this track seems completely unwanted. Rajeev Varma has a half-baked role. Vishwajeet Pradhan and Atul Parchure are passable.

On the whole, BBUDDAH HOGA TERRA BAAP is a must-watch for Bachchan fans. Even if you're not a fan of this iconic actor, watch it for a simple reason: They don't make them like Amitabh Bachchan anymore. A masala entertainer all the way, BBUDDAH HOGA TERRA BAAP may get affected by the omnipotent and unstoppable DELHI BELLY and TRANSFORMERS wave on Friday [although single screens would perform better than plexes], but the business should multiply on Saturday and Sunday due to Bachchan's bravura act and rock-solid post-interval portions. The producers [A.B. Corp, Viacom18] have already recovered the cost of production by selling the Satellite rights for a hefty sum and recovering the balance amount [P&A] from theatrical business should be a cakewalk, ensuring good profits to the investors in the final tally. 

Delhi Belly Review

Delhi  Belly will appeal hugely to some audiences and not much to others, proving that the age of the pan-India audience is dead.
Many years ago an American Jewish woman expressed surprise when I told her that I had seen Woody Allen's  Annie Hall as a teenager in India  and I had found the film very funny. She was baffled how I could have gotten the New York-specific humour in the Oscar-winning film such as in the scene when Diane Keaton's  Annie orders pastrami on white bread with mayonnaise. I have since learned it is a Jewish tradition that pastrami should only be eaten on rye bread with mustard.
 I have also learned that humour is relative, culture and age specific. Humour can be intelligent. As I have lived in New York, I have learned to admire and see the subtle nuances in Allen's films. And humour can be smart.  I find Michael Winterbottom's new film The Trip exceptionally clever and funny, albeit laced with sadness. Slapstick humour works with large audiences, though usually not with me.  But then I always laugh out loud in theatres when characters bump into walls (Fairuza Balk in Cameron Crowe's Almost Famous), or into electric poles (the overweight Cyrus Broacha  in Krishna D K's and Raj Nidimoru's 99), or -- my favourite -- when Michael Palin's Ken in A Fish Called Wanda accidentally kills the three Yorkshire terriers one by one!
I know humour can be crass, crude, in poor taste, and yet the Golmaal and Dhamaal franchises continue to make a lot of money.  I have learned to accept the fact that in this world of ours some people can laugh and connect with Allen's lost, insecure souls as they meander through western cities (or lately in Europe), while others can thoroughly enjoy the loud-mouth over-the-top characters played by Arshad Warsi , Javed Jaffrey  and Riteish Deshmukh  in Double Dhamaal!  It is all humour -- all relative and subjective!
Which brings me to this week's new release, Delhi Belly, the third in a line of  'independent' films produced by Aamir Khan's  production house (the first two being Peepli Live and Dhobi Ghat).
                                     
Delhi Belly is a slick, madly crazy production that is mostly funny -- although the humour will more likely appeal to the 20-something and perhaps 30-something public school educated, English speaking, big city audience that the film targets through its previews, videos and playful songs (from a spoof on K L Saigal's voice, to one that may or may not allude to a curse word).  But I know for sure that my mother and just about everyone of her generation will be totally turned off watching Delhi Belly.
Delhi Belly is not at all in the same territory as Double Dhamaal.  Its success -- and I hope the film works at the box office -- will make it clear that the idea of the pan-India audience is dead.  There are many Indias watching many different cinemas. There is the India that follows Bhojpuri films, while another watches Punjabi fare with Gurdas Mann and Jimmy Shergill .  There is an India that hugely worships Rajnikanth  and another that totally rejects his work. Endhiran, dubbed in Hindi as Robot, was a box office disaster in North India. 
There is an India that will appreciate Delhi Belly, and I credit the always astute Aamir Khan for understanding that fact.  Khan put his money behind a project like Peepli Live, written by two unknown writers from Delhi -- Anusha Rizvi  and Mahmood Farooqui.  This time also he has taken the risk of investing in a fresh script by a young unknown Los Angeles-based scriptwriter Akshat Varma.  Needless to say the risk was worth taking.
Delhi Belly is an ensemble piece with three male roommates, Tashi (Imran Khan ), Nitin (Kunaal Roy Kapur) and Arup (Vir Das), and two almost wacky women in Tashi's life -- his rich fiancée Sonia (Shenaz Treasury) and a free-spirited colleague Menaka (Poorna Jagannath). There's a series of coincidences and accidental exchanges. A bag containing some very expensive diamonds gets mixed up with another carrying a stool sample (yes, one character in the film has a case of Delhi belly after eating tandoori chicken from a street vendor, and yes, the film has one very gross shot of a yucky case of diarrhoea). Toss that up with a handful of moronic, yet sometimes cruel mobsters, a Tarantinoesque shoot-out straight from the climax scene in the 1993 classic comic thriller True Romance, and even homage to my favourite television sit-com Seinfeld , and you get Delhi Belly. Well mostly!
The film has some really clever writing and is ably director by Abhinay Deo who seems to be having a blast making the film with his ensemble actors.  But what appears smart and fresh also starts to get a bit tiresome in the second half -- especially the toilet humour and loud crude sounds of a character passing gas.  Such humour sometimes works in the Farrelly Brothers' films -- from Me, Myself and Irene to Hall Pass and also in the Harold and Kumar franchise. But this is new territory for Indian cinema.  Perhaps it will work in Delhi Belly for some people because the film is mostly in English, but peppered with a touch of Hindi.  I did have a problem with the use of what to me is the crudest word in the Hindi language -- the one that describes human faeces.  But that is a personal issue that I need to get over.
The five main actors seem very comfortable acting in English, playing likeable goofy characters, unlike the Bollywood stars of another generation, such as Salman Khan  and Aishwarya Rai , who get so stiff acting in English.  Imran Khan is a pleasant surprise as he sheds his sappy Bollywood lover-boy performances for a definitely more intelligently carved out character. Jagannathan and Treasury (both currently living in New York) provide fun quirky touches to Khan's more straight-laced personality.
What the film fails to do is to capture the ethos and the spirit of Delhi. Delhi Belly could have been set just about anywhere in India.  Despite many outdoor shots of India's crowded capital city, there is practically no Delhi in the film's characters.  For that one has to revisit Habib Faisal's two remarkable scripts -- Do Dooni Chaar and Band Baaja Baaraat.
Finally a word about the film's much talked about disco inspired item number by Aamir Khan. That item number appears at the end of the film.  Until then Khan has had no presence in the film. The song and the dance -- a spoof and also homage to the days of Bappi Lahiri  and Mithun Chakraborty  -- is fun to watch.  Khan is hilarious. But Khan being the star he is, this one song overshadows everything we have seen in the film. We almost forget Abhinay Deo's film and his likeable ensemble cast.  So, while it is cool, the item number is also a disservice to Delhi Belly.
Rating: 3.5/5

'Transformers: Dark of the Moon' is another loud bruiser

To his credit, Michael Bay does try to put more human touch into 'Transformers: Dark of the Moon', aiming to make up for the clattering mess of overgrown kitchen appliances that duked it out in the franchise's last installment.

REVIEW
Bay went to the far side of the moon and even to planet Vulcan, enlisting John F. Kennedy, Richard Nixon, Neil Armstrong, Buzz Aldrin and Mr. Spock in search of the human face of the 'Transformers' universe.
And he came back with another loud, long, bruising and wearisome onslaught of giant, shape-shifting robots. The human element arises largely from archival footage involving the 1960s moon race, along with images that may disturb younger kids as a succession of screaming, scrambling humans are vaporized by the `bots like insects in a bug zapper.
In 3-D, too, so you get to wear those clunky glasses for the franchise's longest movie yet.
It really felt like people didn't matter in 2009's 'Transformers: Revenge of the Fallen', a mega-blockbuster despite being little more than a turgid assemblage of computer-generated machine parts thrashing about.
So Bay and his collaborators set out to show the flesh-and-blood consequences in the war between the benevolent Autobots and their evil counterparts, the Decepticons.
But human consequence in a Bay flick means more shots of Shia LaBeouf bellowing while he and his pals get battered around amid the mayhem. The action sequences drag on and on, and while the stunts and digital imagery are even more dazzling than the visuals of Bay's first two 'Transformers' tales, it all flies by in such frenzy that it remains a challenge to figure out who's who, which robot is which, and what machines you should be rooting for.
It's a thin line between the idiotically incomprehensible 'Revenge of the Fallen' and the merely incomprehensible of 'Dark of the Moon'.
                                            
Unlike 'Revenge of the Fallen', part three actually has a plot, or at least starts with one before the movie lapses into nonsense. Returning screenwriter Ehren Kruger weaves in a 1960s prologue as NASA tracks the crash of an alien ship on the moon, prompting Kennedy to order a salvage mission under cover of his call to beat the Russians to the lunar surface (along with Kennedy, the prologue features archival footage of Nixon and moon walkers Armstrong and Aldrin, the latter also turning up in a cameo as himself in present times).
The crashed vessel carried technology that was the last hope of the Autobots in their losing battle against the Decepticons on their home world. It also carried the leader of the Autobots, Sentinel Prime (voiced by Leonard Nimoy, who also is seen briefly as Vulcan Spock from a 'Star Trek' episode as Paramount Pictures forges a strange marriage of its two big sci-fi franchises).
Sentinel Prime is revived by his protégé and successor, Optimus Prime (again voiced by Peter Cullen), and the two lead their scant Autobot forces and human allies against Decepticon leader Megatron (Hugo Weaving) in the race to recover the lost technology.

Earth's fate is again in the balance, with LaBeouf's Sam Witwicky naturally at the center of things. Bay cast out Megan Fox as Sam's girlfriend, replacing her with new romantic interest Carly (Victoria's Secret model Rosie Huntington-Whitely, who makes a laughably titillating, skin-bearing entry into the movie, reminiscent of Fox's introduction in the last one).
Like Fox, Huntington-Whitely is never expected to do more than look hot while in deathly peril in the clutches of hulking robots, so in that regard at least, her big-screen debut is a success.
LaBeouf is reunited with Josh Duhamel and Tyrese Gibson as leaders of the human strike forces, along with John Turturro as a former government operative who jumps back into the battle.
Some genuine humor arises early on, courtesy of John Malkovich as Sam's quirkily autocratic new boss and Frances McDormand as a supremely capable but by-the-book intelligence chief (hearing Academy Award winner McDormand state with conviction that "it's some sort of prototype Autobot technology" is a natural giggle).
Alan Tudyk provides a few laughs as Turturro's unstable assistant, while Patrick Dempsey manages at least one chuckle as Carly's wealthy boss, a guy who talks up the need to "liaise" with the humungous robots.
As they always are, Kevin Dunn and Julie White are annoying as Sam's parents, whose roles serve no purpose this time and could have been jettisoned to save precious time.
Whatever humor the movie offered fades as Bay ratchets up the relentless action, the battles grinding on so long that the motion and noise turns numbing (the mind really can wander during all this ruckus; stare long enough at some of the Decepticons' flying machines and they oddly start to resemble jumbo shrimp).
The 3-D images, created through a combination of 3-D cameras, 2-D converted footage and digital effects, generally are crisp, avoiding the blurriness that has spoiled some 3-D tales. Fans of the format should be satisfied, but for the anti-3-D crowd, the movie probably will not win any converts; the 3-D images really don't add anything.
"Dark of the Moon" mostly is an expensive exercise in rubbernecking, the audience getting to watch colossal carnage and destruction from the safety of stadium seating.
And human consequence? Well, the most human thing about "Dark of the Moon" is the age-old, gravelly voice of Sentinel Prime, even though Nimoy unfortunately is called on to parrot one of the most-cherished lines of the "Star Trek" canon in a bad context.
It's hard to care about what happens on screen when an extra-terrestrial robot, speaking with the same voice as a pointy-eared Vulcan, provides the most human connection in a movie.

Rating: 2.5/5

Cars 2 Movie Review Rating 4/5

                                                                                             

                                                 

                    

Cast: Voice of Owen Wilson, Larry the Cable Guy, Michael Caine, Emily Mortimer, John Turturro

Direction: John Lasseter, Brad Lewis

Genre: Animation

Duration: 1 hour 53 minutes

Story : Lightning McQueen (Owen Wilson) is chilling out in the dusty town of Radiator Springs with his buddy, the buck-toothed Mater (Larry the Cable Guy), waiting for the new racing season to begin. When a new challenger, Franscesco Bernoulli (John Turturro) threatens to defeat him in the cross-countries race, McQueen has no option but to accept the challenge and once again prove he is the best car on the race track. Add to this an espionage plot where the bumbling Mater gets embroiled and a fuel rivalry and you have a racy, pacy rollercoaster ride

Movie Review : The highpoint of the film are the picturesque locales where McQueen tests his skills on the race track. London, Paris, Tokyo and the exotic countryside of Italy almost dazzle you with Pixar's impeccable animation creating art on screen. Even before you've had your full of glitzy Tokyo, it's time to feast your eyes on Paris, London, Italy... all equally dazzling and bright.
                                    
Then of course, there is the friendship between the somewhat dim-witted but golden-hearted Mater and the spunky McQueen. This time, the relationship hits a rough patch only to regain its vigour and vitality in reinforced measure. Add to this the unlikely romantic angle between the rickety dump truck, Mater and the sprightly British intelligence agent Holley Shiftwell (Emily Mortimer) and you have enough sound bytes and sweet little messages on friendship, love, respect and acceptance to carry home.

The film does get a bit complicated with too much of the espionage plot and the fuel controversy and the focus tends to shift from the races which are the essence of the film. But by and large, Cars 2 is fun for the family and great fun for kids. A confession: Part one was better.

Rating: 4/5 

Double Dhamaal Movie Review

  

Cast: Sanjay Dutt, Arshad Warsi, Riteish Deshmukh, Jaaved Jafri, Ashish Chowdhury, Mallika Sherawat, Kangana Ranaut, Satish Kaushik

Direction: Indra Kumar

Genre: Comedy

Duration: 2 hours 20 minutes

Story : The gang of Dhamaal -- Adi (Arshad Warsi), Manav (Jaaved Jafri), Boman (Ashish Chowdhury), Roy (Riteish Deshmukh) are back. Once again they have just one purpose in life: to get rich, any which way. This time the plan entails duping their tormentor Kabir (Sanjay Dutt) by messing up his personal and professional life.

Movie Review: First things first, part one was better. It was stupid, but it did have lots of goofy humour and fun. The sequel is more stupid than funny, nevertheless there are enough moments to keep the clock ticking.

The entire film operates as one extended con game where most of the chaos is kicked up by the loser foursome of Arshad, Jaaved, Riteish and Ashish. It's one of the most dysfunctional bunch of friends in Bollywood, where each seems to be more stupid than the other. Yet, when they pool in their mental deficiencies, they do manage to create some madcap moments on screen.
                                            
In the first half, they try to ingratiate themselves with Sanjay Dutt in order to win a partnership in his firm. And the fact the he has a svelte girlfriend like Mallika Sherawat and a siren sister like Kangana Ranaut motivates them further. But when they realize the tycoon has put them in a soup by peddling gutter water in the middle of Mumbai as oil, they know it's time for revenge. Specially since they are being hounded by the local gangster (Satish Kaushik) who is baying for their blood. Act two is all about vengeance and one upmanship between the foursome and Sanjay Dutt.

This one's definitely not for the fastidious, choosy viewer but for those who don't mind losing it for a bit, Double Dhamaal works like an average Bollywood comedy. Performance-wise, it's one big circus with the guys hogging most of the limelight. The girls -- Mallika and Kangana -- are mere confetti.
Rating: 3/5 

Bhindi Baazaar Inc. Review: Meandering gangster war

Rating:  2.5/5
Cast: Kay Kay Menon, Prashant Narayan, Piyush Mishra, Pawan Malhotra, Deepti Naval, Shilpa Shukla
Direction: Ankush Bhatt
Genre: Action
Duration: 1 hour 57 minutes

Story: Two gangs of pickpockets fight it out for supremacy in the crowded by lanes of Mumbai's Bhindi Bazaar. The street war tests loyalties, friendships and love in a battleground that follows no rules and kowtows no principles.

Movie Review: The film tries to capture a slice of life of sleazy Mumbai as it paints the picture of two rival gangs, headed by Pawan Malhotra and Piyush Mishra. The gangsters build up their empire with a bunch of street urchins trained to pick pockets. And with the passage of time, the kids grow up as one extended family, albeit with their hidden rivalries and jealousies.

With ambitions soaring high, and the heights of Malabar Hills luring the upstarts, it doesn't take long before personal relationships are put on stake and the hunger for power becomes the only motive to pursue, specially for the maverick Prashant Narayan who seems to follow no moral code, no law.

The film takes too long to get on course and is cluttered with loose, untidy bits that need to be edited out. What works in favour is the authenticity of the setting and the changing tide of events.

Bheja Fry 2 Review: Time-pass entertainment

Rating: 3/5
Cast: Vinay Pathak, Kay Kay Menon, Minisha Lamba, Amole Gupte
Direction: Sagar Ballary
Genre: Comedy
Duration: 2 hours

Story: Bharat Bhushan (Vinay Pathak), the nerd of Bheja Fry 1 returns with all his irritating quirks. This time, he has won himself a free trip on a luxury cruise and is determined to rock the boat for most of the revelers, specially the tax evader, tycoon Kay Kay Menon. In between, he manages to find a potential love interest in Minisha Lamba... at least that's what he thinks.

Movie Review: First things first: you do end up a few shades disappointed with the sequel, specially since the first part was such a scintillating act. The humour is laid back, the laughs are too few and far between and the tango between Vinay Pathak and Kay Kay Menon lacks the chemistry that crackled between Pathak and Rajat Kapoor in part one.

But give yourself a little time and let the characters take shape. It won't be long before you realize that Bharat Bhushan is still the nicest fool in the world. His stupidity still has an endearing quality to it as he tries his best to make the world a better place for everybody, unmindful of the barbs and the ridicule that comes his way. His antics, both on the ship and off it do induce a chuckle and a smile as the world writes him off as the proverbial loser. But zeroes, in Bollywood parlance often end up as heroes, specially if they stand up for the right.

Bheja Fry 2 also has an additional factor to add to the mayhem: Amole Gupte as the mad RD Burman fan, who prefers to lead a savage existence with his antiquated radio and his RD golden oldies. Watch out for an interesting cameo by Gupte who is creating a niche for himself as an actor of import.

Exclusive: First look of Aishwarya Rai Bachchan in Heroine leaked

Sridevi Daughter Jahnavi photos

It all Ends on 15/07/2011

Shaitan Review

A decade back, Anurag Kashyap directed his first filmPaanch which, despite being unreleased till date, is perhaps the most popular pirated film of Bollywood. For people who missed Paanch , Shaitan kinda revisits the basic plotline of the film, proving that Kashyap's directorial debut was ahead of its time and one can relate to its theme and treatment in today's times. 

NRI Amy (Kalki Koechlin) shifts to Mumbai and makes friends with a bunch of urban brats who believe in living life on the edge. The gang includes the loaded KC (Gulshan Devaiya), a drug-peddler Dash (Shiv Pandit), model-cum-aspiring actress Tanya (Kirti Kulhari) and the idler Zubin (Neil Bhoopalam). A random hit-and-run episode on a dopey night lands them into trouble when a cop (Raj Kumar Yadav) tracks them down and blackmails for huge ransom. 

In a tight situation, the gang mutually decides to fake Amy's kidnapping and ask for money from her father. Suspended Inspector Arvind (Rajeev Khandelwal) is asked to investigate the abduction case. Meanwhile distrust spreads amidst Amy and the group and things go horribly wrong. 

While Shaitan borrows the basic idea of self-kidnapping from Anurag Kashyap's Paanch , everything else from the characters to their conflicts are original. The screenplay by Megha Ramaswamy and Bejoy Nambiar is riveting and runs at breakneck speed. The characters are introduced and established as early as the title credits roll, the youth euphoria soon follows giving an adrenaline rush to the narrative until the accident arrives with a jolt. 

The flavour of the film keeps fluctuating as the tone of scenes keep changing from extreme tension to lighthearted moments but there is never a continuity lapse as such in the temperament. A techno-version of the yesteryear song Khoya Khoya Chand plays in the backdrop of a shootout-cum-runaway sequence in the second half and though the song is not in sync with the situation, it is so beautifully edited and incorporated that it compellingly complements the onscreen antics. 

Shaitan has to its credit some of the most striking slow-motion shots seen in a Hindi film. R Madhi's cinematography is stunning as he captures some breathtakingly beautiful frames on his lens. Also he adds the requisite intensity to the scenes with his impeccable lighting effects and the wavering camera movements. Kunal Sharma's sound design is as much intricate and esp. remarkable is the deafening silence in the scene immediately following the road accident. Sreekar Prasad's editing is intelligent, crisp and never lets you lose the film for a moment. The soundtrack and the background score have a mind-blowing effect. 

Shaitan gives a promising director to Bollywood in Bejoy Nambiar who is a smart storyteller and a techno-savvy craftsman. Nambiar has a unique sense of shot-taking esp. noteworthy being Rajeev Khandelwal's introduction sequence and the dahi-handi chase sequence in the climax where the action is pulsating yet pragmatic. While the mental trauma of Amy's mother's death adds depth and dimension to her obsessive character, at the same time the director doesn't dig much into her past. Nor does the narrative attempts to explore Inspector Arvind's estrangement from his wife (Sheetal Menon) beyond the necessary. 

With the rampant violence in the second half, the film kind of goes out of control but the director soon takes a grip of the situation with a sensible climax. Unlike Paanch where the double-crossing and triple-crossing convoluted the plot, the culmination here is much simplified. It plays on the idea of the remorseful gaining redemption. 

The performances are compelling with each actor getting to unleash the devil inside him. Rajeev Khandelwal has amazing intensity, yet is wonderfully restrained and never goes over the top. Kalki Koechlin as the damsel in distress is convincing though she goes slightly overboard with her abrupt obsession in the concluding reels. Gulshan Devaiya is the most impressive amongst the gang of five. Shiv Pandit underplays his part but lacks screen presence. Kirti Kulhari exudes the requisite sex-appeal. Neil Bhoopalam is perfect in his part. Raj Kumar Yadav adds authenticity to his short-lived character. 

If you haven't seen Paanch , watch Shaitan to know what you missed. If you have seen Paanch , watchShaitan to know how it retains the essence of the original yet has an individual appeal of its own.

X-Men: First Class: Movie Review

A first-class production that excitingly reenergizes a flagging franchise.

Much as Casino Royale rebooted the James Bond franchise in a fresh and dynamic way, X-Men: First Class injects new blood into a franchise that, for all its profitability, had become blandly anemic. In fact, roughly the first half of this massive and very well cast origins extravaganza is arguably the best hour of Marvel Comics-derived filmmaking among the torrent of it that's cascaded across screens in recent years. Audacious, confident and fueled by youthful energy, this is a surefire summer winner for a wide global audience.

The spectre of Bond actually hovers over this British-flavored production in a number of ways, all of them beneficial: The 1962 setting shot through with Cold War tensions conjures up the political moment at which 007 was born cinematically, the hardware and style harken back to an earlier high-tech era that looks quaintly beguiling today and Michael Fassbender as Erik, the future Magneto, cuts a dashingly ruthless figure that can only have been patterned on Sean Connery in the early Bonds. First Class is comprised of an enormous stew of elements and influences but head chef Matthew Vaughn has stirred things so as to make them not only digestible but quite tasty.

Departing from the backstory of the comics, the new yarn, devised by Sheldon Turner and original X-Men director Bryan Singer and written by Thor co-scenarists Ashley Edward Miller and Zack Stentz along with Jane Goldman and Vaughn, pivots on an alluringly fanciful proposition, that the real events of the Cuban missile crisis had a shadow history involving manipulations by figures whose super powers put those of the U.S. and the U.S.S.R. to shame; it's as if JFK, Khrushchev, Castro, the CIA and the combined armed forces of the East and West were mere puppets doing the bidding of unsuspected Olympian gods, the most spiteful of whom desire nothing less than human extermination.

Not inaptly, then, it all begins (as did Singer's original 2000 X-Men) at Auschwitz, where young Erik, challenged to display his “magnetic” powers, sees his mother gunned down by the heinous camp doctor (Kevin Bacon), an event that dictates all his actions from then on. In the more benign setting of Westchester, New York, two kids, Charles and Raven, exhibit odd characteristics of their own that, nearly two decades later, will put them in the forefront of the mutant movement.

Like the most peripatetic of 1960s globe-hopping thrillers, the early stretch of First Class hardly stays put for more than a moment, jumping all over the world—Geneva, Oxford, Las Vegas, Argentina, Miami, Washington, D.C.--in the service of introducing an enormous number of characters and delineating their unique powers. Under the circumstances, director Vaughn impressively maintains a strong focus dedicated to clarity and dramatic power; while Erik scours the world for stray Nazis (his confrontation with two of them in a tavern on the pampas is an early highlight), Charles (James McAvoy) achieves academic prominence and, with Raven (Jennifer Lawrence), is recruited by the CIA with the eventual aim of assembling a “Division of Mutant Powers.”

Even though a lot of the early material is set-up, it nevertheless develops surprising momentum and tension. The malevolent doctor Erik remembers from the concentration camp now resurfaces as Sebastian Shaw, who has developed an extraordinary capacity to absorb, harness and deploy energy, while his fabulously sexy partner in crime, Emma Frost (January Jones), not only has extreme telepathic ability but possesses an optional indestructible diamond veneer. When Erik tracks them down on board their yacht and seems on the verge of fulfilling his vengeful 18-year quest, his quarry escape in a manner befitting the best of the Bonds.

Once the loner Erik decides to join forces with Charles under the auspices of an offbeat CIA honcho (Oliver Platt) and an adventurous agent (Rose Byrne), the film takes on more the air of a standard-issue Marvel effort as mutant youngsters are trained in hiding to master their unusual powers; they are Hank/Beast (Nicholas Hoult), Alex/Havoc (Lucas Till), Sean/Banshee (Caleb Landry Jones), Armondo/Darwin (Edi Gathegi) and, for a while, Angel (Zoe Kravitz). The problem here is not only familiarity but that, unlike the other characters, these kids seem resolutely 21st century, not early 1960s; one of them even says “whatever.” Another drawback, a likely victim of an overcrowded roster of characters, is that two swarthy henchmen of Shaw's are not even given the benefit of an introduction, much less anything to play.

Still, once Emma Frost penetrates the inner sanctum of the Soviet military and the enormity of Shaw's scheme becomes clear, the film takes off again with a fantastical rendition of an American/Soviet naval confrontation off Cuba trumped by the manipulative antics of battling telepathic mutants on board an ultra-futuristic plane and a stealth submarine.

Vaughn orchestrates the mayhem with a laudable coherence, a task made easier by a charging, churning score by Henry Jackman that, much as that of his mentor Hans Zimmer did inInception, helps smooth the connections among rapidly changing locations and events. A few of the effects in the climactic section don't quite measure up, but the visual effects by veteran wizard John Dykstra are mostly terrific. Top-drawer contributions are also delivered by production designer Chris Seagers, costume designer Sammy Sheldon and cinematographer John Mathieson.

The cast is almost absurdly easy on the eyes and is most powerful at the top, thanks to the intense Fassbender, who will now need no audition if Daniel Craig decides to give up Bond after another picture or two. McAvoy is forced to spend a bit too much time with his hand to head summoning telepathic signals but nonetheless conveys the intelligence and sobriety required for the future Professor X. Bacon is formidable as the former Nazi who aspires to far greater power than Hitler could ever dream of, while Jones dazzlingly projects the arrogance of maximum beauty and invulnerability. As the naturally blue-skinned, red-haired and yellow-eyed Raven/Mystique, Lawrence is at her most appealing when conveying an ashamed insecurity about her natural looks, which she can conceal with a human facade. A vulgar cameo by a certain hirsute character provides a hearty laugh.

Badrinath Movie Review

Badrinath Review rating: 2.5/5
Banner: Geetha Arts
Cast: Allu Arjun, Tamannaah Bhatia, Prakash Raj
Music: M.M.Keeravani
Cinematography: Ravi Varman
Story: Chinni Krishna
Producer: Allu Aravind
Director: V.V.Vinayak

Allu Arjun's latest movie badrinath raised so many expectations due to its package and publicity. The film looked like a blockbuster written all over it. Even the makers confidence suggested the same. With aggressive publicity Badrinath is surrounded by huge hype and the expectations continued to scale new heights by the day. So, is it up to the expectations? Did it live up to the hype? Let's uncover Badrinath review...
Story:
Badri (Allu Arjun) is one of the disciples of Bheeshma (Prakash Raj), who is a guru of ancient martial arts. Badrinath grows up into a strong fighter under Bheeshma's rigorous training. He will be appointed as the 'kshetra palakudu' (protector) of Badrinath temple. Alakananda (Tamanna), an atheist comes to Badrinath along with her grandfather. Badri learns that she is in big trouble due to Sarkar (Kelly Dorjee). Alakananda slowly realizes the greatness of Badrinath and turns a devotee. She also falls for Badri who doesn't reciprocate to her love. Bheeshma decides to make Badri his successor by handing over the responsibility of Takshasila. For that Badri has to remain bachelor forever. Not aware of his guru's decision and Alakananda's real feelings towards him Badri gives her a word that he will help her to visit Barinath temple again as she has to do that to make her wish come true. Alakananda prays Lord Badrinath to help her succeed in her love. Bheeshma takes a word from Badrinath that he would take up his duties as a true successor to him. So who wins? How does Badrinath overcomes this contrasting situation?
Analysis:
Badrinath starts on a bright note. The introduction of temples and the visuals are splendid. But immediately it takes a predictable path with some poorly etched characters and scenes. You will hardly find Badrinath being troubled in the training. The training process looks just ordinary. The confrontation between hero and heroine is regular. Nothing new or interesting. The film moves on with a silly flashback episode revealing the troubles of heroine. From then on the movie moves on with a sole reason, that is to find the interval point.
In between there is a fight where Badri goes and kills tens of terrorists with his sword. He simply evades all the bullets with a swing of his sword. It is over the top action which would not be liked by the die hard fans even. Interval episode is too predictable and the action episode goes on for ages during that period. Second half starts on a dull note with hardly any engaging scenes. Song after song follows with a heavily censored fight sequence in between. The film heads to climax with literally nothing happening post interval. Climax is a big let down.
This film is set in current era and that is the biggest logical error as you wouldn't find security and police around Badrinath temple. Even when hundreds of people gets killed there is no sign of police anywhere. The hero goes on a killing rampage in a railway station and the director doesn't care of bringing cops into the scene. Right from the concept of keeping the protagonist as protector to Badrinath temple, this film lacks logic in everything. So called commercial elements didn't work due to weak script.
This film doesn't have any comparisons with Magadheera as the public believed but it has stark resemblance to Shakti movie starring NTR. Like that this film too falls flat on most aspects except for grandeur and a couple of songs.
Performances:
Allu Arjun does the same and speaks like he does in every film despite his awkward costumes and hairstyle. He didn't try to get into the skin of the character as it is no different from his usual roles. His dances are the highlight and probably the only selling factor for this film. Tamanna liberally showed off her skin and helped her part to up the masala dose. Prakash Raj is Okay but his makeup is pretty bad. Kelly Dorjee is wasted and the woman who played his wife is over the top all the time. The man who played their son is a miscast. Raghubabu is regular and repeating Indra's comedy track with Brahmanandam didn't work. Rao Ramesh, Tanikella Bharani didn't have much scope.
Tehnicalities:
Keeravani's songs lack freshness but are good on screen. Thanks to electrifying dances of Allu Arjun. Background score is good but Keeravani failed to recreate his Magadheera magic. Cinematography is good. The visuals of Badrinath stays with you. Art work is fine in parts. Editing is Okay. Story and screenplay written by Chinni Krishna lacks the punch and freshness. Dialogues are mediocre. Action part is another minus as all the fights looked artificial. Production values are good.
VV Vinayak disappoints big time and one cannot completely put blame on him. The problem is with the lackluster script. He couldn't do much with it. He failed in incorporating commercial ingredients too.
Plus Points:
- Badrinath backdrop
- Allu Arjun dances
- Tamanna's glamor
- Few songs
Minus points:
- Story and screenplay
- Over the top action
- Lack of entertainment
- Weak second hour and poor climax
Final Word: Badrinath – This film does justice to the first three letters in its title.
Box office predictions:
Badrinath lets the audience down who go to the movie expecting a magnum opus. Even if you are in for a regular commercial potboiler it fells short of expectations. It may survive in mass centers due to the never ending fights and mass frenzy songs. It needs a miracle to be a break even at the box office.

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Mahesh Babu's Dhookudu Story Out

Mahesh babu will play a police officer role in this film. 

A Mafia leader escapes from Mahesh Babu Police team with the help of political power. 

He is none other than Prakash Raj. 

 

If mahesh won’t find out Prakash Raj he and his team will lose their jobs. 

Mahesh Babu superior officer Najar gives 10 Days time to Mahesh and his team 

to catch Prakash Raj. 

Prakash Raj escapes from India and flies to Turkey. 

In search of Prakash Raj, Mahesh and his team goes to Turkey. 

In Turkey Mahesh Babu falls in Samantha’s love. 

Samantha is daughter of Mahesh Babu’s superior officer Najar.

Another twist is Najar is the police officer who helps to Prakash Raj to escape from India. 

With the help of Samantha, Mahesh Babu knows everything. 

How Mahesh will catch Prakash Raj and how he proves Najar as a criminal is rest of the story.

Allu Arjun Badrinath Story Out

BADRINADH STORY IS SIMILAR TO NAGARJUNA'S MOVIE "Janaki Ramudu"
as an inspiration again. but a slight change nag grown up in a village 

and then he comes back after born.
But in badrinadh allu arjun will born in an hill station and his village is famous for martial arts
and he will be good in martial arts. actor allu arjun has undergone professional training in martial
arts at Vietnam.
Justifying the title, the film is based on a backdrop of sacred place Badrinath.
Tamannah will be seen opposite Arjun for the first time. 

Prakash Raj will be seen in a crucial role in the film as an Guru of allu arjun.
Prakash Raj didn't like his daughter tammana loving allu arjun 

and he tries to kill allu arjun with his another shishya (villan) 

but unexpectedly both allu arjun and thamana dies. 

and next the starting of movie starts in hyderabad.

1 st half:- film starts in hyderabad with normal bike introduction of allu arjun and herione in jeans in college backdrop and how they fall in love in 1 and then they went to tour to badrinadh temple and there they see prakash raj as old man and then he tells story and then 2 half flash back episode.

2 nd half:- full of mass elements as  badrindh is famous for martial training ani chupistadu allu arjun
doing well except his long hair. nice fight sequences.then a twist that villan enters the scene and
again try to capture herione and in final hero saves herione and kills vilan finally and prakash raj will join hands of hero and herione.

First Look of 'Aarakshan'

Top 10 Hollywood Movies and their collections this week

1	The Hangover Part II	$85.9M
2	Kung Fu Panda 2	$47.6M
3	Pirates of the Caribbean: On Stranger Tides	$39.8M
4	Bridesmaids	$16.5M
5	Thor	$9.5M
6	Fast Five	$6.4M
7	Midnight in Paris	$1.9M
8	Something Borrowed	$1.8M
9	Jumping the Broom	$1.8M
10	Rio The Movie	$1.8M